BUI CAV OMSL lah) The Baroque f m5) 0) 0), Cr 1 | ) ; Intermediate Guitar Solos from the 17 and 18 tm Centuries Pern (roarTHE EGTA SERIES New directions in educational guitar music developed by the UK branch of the European Guitar Teachers Association General Editor: Richard Wright THE BAROQUE BOOK Intermediate Guitar Solos Jrom the 17th and 18th Centuries with a foreword by Jobn W. 2111 Chanterelle ww.chanterelle. +hanterelle@chanterelFOREWORD For more than a century the guitar has relied on approaches to studies and general learning which, based as they are almost exclusively on solo playing, often leave students with gaps in their technical and musi- cal understanding, Such inflexible conventions are gradually being replaced by much more creative and progressive attitudes among amateur and professional players alike. “The EGIA Series with its parallel use of solo and accompanied pieces consolidates and develops these changes methodically and imaginatively, and represents a major contribution to the changing needs of guitar teaching John Williams PREFACE ‘The music of the baroque era (coughly 1600-1750) has always been popular ancl impostant part of the guitar repertoire, A thorough understanding of the style, forms, and rhythmic and harmonic conventions Of the period isan essential pact ofthe guitarists training — asi is with all musicians. This book attempts to introduce today’s guitatst to baroque music in a way that is both technically cumulative and musically comprehensive, staring at the casist level at which consistently good examples of the genre occur. Tk ‘comprises arrangements of all the standard dance movements and other characteristic forms, written by French, German, Czech, English, Italian and Spanish composers for instruments as diverse as the guitar lute, harpsichord, violin, cello, fute, colascione and viola da gamba. As such it could not claim to be — and should not be regarded as — an authentic edition, though every care has been taken to balance histosical accuracy with the broader didactic aims of the book. Along with the unavoidable textual compromises that ‘occur in an exercise of this kind (particulasly where music for the S-course baroque guitar is concerned) there are a number of deliberate simplifications. Among these are the non-inclusion of the ragguado indica- tion in the pieces waitten for the baroque guitar, and the omission or modification of ornaments in order to accommodate the following scheme. “The pieces are more of less progressive in difficulty throughout, and are grouped into three distinet technical categories. Nos.L-12 contain ao left-hand shurs or batsés of any kind, and only the Brescianello ‘Menuet (No.12) goes higher dhan the fifth position. Nos.13-24 include hal-batsés,appoggiaturas and other examples ofthe lef-hand slur ot gad, while from No.25 onwards, full-batrés (ie. those covering four or ‘more strings) appear along with mordents and tls, The dashed slaris used to indicate which notes, otber than omaments, should be executed with the figud. Higher positions appear increasingly in the second and thisd sections. would like to thank all the EGTA members who suggested pieces for this collection, and in particular Peter Batchelar, Jonathan Leathwood, Michael Lewin and Christopher Susans for their invaluable help and advice, Richard Wright1. Robert de Visée . 4 2. Johann Sebastian Bach Borie 1 wa 3. Johann Anton Logy Sarabande 5 4. Esaias Reusner Gamwite 5 5. Karl Friedrich Abel Minuet 4 6 6. Gaspar Sanz Rajero 6 7. Johann Anton Logy Gige 7 8. Henri Grénerin Menuet . 8 9. Ivan Jelinek Burnie 8 10. Robert de Visée Menuet Rondean 9 11. Johann Anton Logy Garo 10 12. Giuseppe Antonio Brescianello Menuet 10 13. David Kellner Passepied un 14, Johann Anton Logy Bourrée a2 15. David Kellner Aria a aie 16. Johann Sebastian Bach Menuet 13, 17. Georg Philipp Telemann Grea eth 18. Gaspar Sanz La Cavalleria de Népoles, con dos Clarines =. 1S 19, Ludovico Roncalli Meme 6, - 16 20, Robert de Visée Bore =. 16 21, Johann Sebastian Bach Gawie . . AT 22, Katl Friedrich Abel Minuet 18 23, Robert de Visée Chaconne . 19 24, Johann Sebastian Bach Sarabande. a) 25. Georg Philipp Telemann Cige a) 26, Robert de Visée Pasacaile 2 27, René Mesangeau Allemande . B 28, Henry Purcell an 24 29, Eenst Gottlieb Baron Sarabande. . 2B 30, Ludovico Roncalli Cone ee, 31, Emnst Gottlieb Baron Boar OG 32, Anon. Courante . Be 33, Robert de Visée Prélude . 2B 34, Henry Purcell Hompipe 5 a) 35. Giuseppe Antonio Brescianello Menuet se. 80 36, Silvius Leopold Weiss Prelude =. Bt Historical Notes. 0. fos 32 Cento No, HCH 2111 ‘SN Sis 690642 TSUN Man. 211T3 Diss by Chantelle Veg, Postich 10309, D-69029 Heidelberg, Geemaay Fit plished 1996 by Chater Vg Tepe 197,208 ih evsons © 1996 by Micha! acres, Chanter Veg, ‘Chane Velg (GEM) All Rights Reseed “This ton contin new and ogi materia No prof tna be epodce, sore ina eel device, ‘rosin anyway aetout the expres ror wate perman of te pubes Photocopying this edton ILLEGAL. (Chantel isthe registered ade ack ofthe Chanter Ver, Heidelberg, Puig in the EU coer desig by lade Make Engng by Sia Ley Coe Putin em Bape Grins De: Gia Glas Bien1. Menuet Robert de Visée c. 1660 - ¢. 1720 (© 2008 by Chanterelle Vel - International Copyrghe Seared AUL Rights Resrved - GEMA - Thorocopyng this ee legal Madein che EU me ECH2N13. Sarabande 3° Grov Johann Anton Logy 1650-1721 » 4. Gavotte ECH2I115. Minuet Karl Friedrich Abel 1723-1787 1640-1710 — 2 = oe = iH Je» CH HI2 2 Grow Johann Anton Logy 1650-1721 | | i | | | F RcH21118. Menuet Henri Grénerin (1680) 5 al he ates v4 i 9. Bourrée o Ivan Jelinek fou 4 8 1683-1759 BCH 211110. Menuet Rondeau Robert de Visée c. 1660 - ©. 1720 i BS * w BCH 21111. Gavotte Johann Anton Logy 1650-17: 21 uzcav 12. Menuet Giuseppe Antonio Brescianello ©. 1690-1757 2 te P Por F Pied yy d. } a > Cyt a a ded, | ype 1g od bag Fr CORP PT rR e LPF q ECH 211113. Passepied David Kellner iim ¢, 1670-174814. Bourrée Johann Anton Logy 1650-1721 ¢ul— «1— David Kellner | » ©. 1670-1748 : i = BCH 21116. Menuet Johann Sebastian Bach 1685-175017. Gavotte Georg Philipp Telemann 1681-1767, ECH2i1118. La Cavalleria de Napoles con dos Clarines | Gaspar Sanz 1640-1710 i |19. Menuet Ludovico Roncalli (1692) 1 ECH2u11 Robert de Visée ¢, 1660 - ¢. 172021. Gavotte Johann Sebastian Bach 1685-1750 ce22. Minuet Karl Friedrich Abel 1723-1787 SS —= = 7 a ECH 2119 23. Chaconne Robert de Visée c. 1660 - ¢. 1720 | | |24. Sarabande Johann Sebastian Bach 1685-1750 b. — — —— *, (JJ4)] DTT om | é ——* == f === = ae > 2 T ror | 25. Gigue Georg Philipp Telemann 1681-171 ——- * ss | — = = — rt BCH 211126. Passacaille Robert de Visée c. 1660 - ¢. 1720 ECH2IN27. Allemande René Mesangeau d. 1638 = Zz = —— 2. ECH 211128. Canary Henry Purcell 1659-1695 Fao ee a ‘on =e a a pr. Of ECH2u1| 29. Sarabande | Ernst Gottlieb Baron 1696-1760 ¢u———_, ) J. 1 ms 0 3 4 HI) a 7 v — =a 4 _30. Gavotta Ludovico Roncalli (1692) ¢—— ¢u——. a _ 24) 1 eS aa er 1 eg ae — rT o om— eS . mm r = po ea oe P T T t &—_ a ca a— a—, ™ pp Fe f ad | 31. Bourrée Ernst Gottlieb Baron 1696-1760 pe oo} r 2 r of fF f E G i= _ Le ee (Sa a 2 7 * EcHaIn32. Courante Robert de Visée c. 1660 - ¢. 1720 ECH2u19 ec te i sh « 34. Hornpipe Henry Purcell 1659-1695 cvit £7 td d oFCrer Cr[sr 5 Poe i A = = wld fT = ——* © a a r a rege30 35. Menuet, Guiseppe Antonio Brescianello ¢. 1690-1757 ™ na ® 7 J J J ] J d : | Menuet da Capo a = r r : 7 ECHL36. Prelude Sylvius Leopold Weiss 1686-1750 m_ CW) ca—— 5 oo ee TTD. Ja (fie 3 # z —— : is ? Pr ?32 The Composers Karl Friedrich Abel, 1723-1787 ‘Abel was the last great viola da gamba virtuoso. As a boy, he studied under J. $. Bach at the St. ‘Thomas School in Leipzig. He eventa- ally settled in London — as did) Handel and J. C. Bach, one of Johann Sebastian’s many musical sons. In addition to musie for his own instrument, Abel wrote symphonies and chamber music. Both the Minuets used here were originally written for unaccompanied viola dda gamba. As with the Bach pieces, the composer’ original bowings provide a useful guide to articulation, Johann Sebastian Bach, 1685-1750 “Although now considered one of the greatest composers of alltime, Bach was best known in his lifetime as Germany's leading orgenist. He wrote an enormous quantity of music that encompassed every medium except opera, and his suites and partias for solo instruments (partita is another nate for a suite) represent the culmination of the baroque dance-movement style, The four pieces in this book are movements from his Six Suites for Violoncello Solo (BWV 1007-1012) which have suevived in a hand-written copy by Anna Magdalena Bach, the composer's second wife. ‘The phrasing slurs in the present edition are simply the original bowings from that manuscript. The Sarabande is from the Fifth Cello Suite, which also exists in an arrangement for lute by Bach himself. In this case, his own manuscript has survived and forms the basis of the version printed here. Ernst Gottlieb Baron, 1696-1760 Baron was a German lutenist whose book Historie theoretsche und praktitche Untersuchung des Instruments der Laxten (published in Nitenberg, in 1727) remains a valuable source of information about other players ofthe day, as well as telling us a great deal about how the baroque late was actually played, He travelled widely in Getmany before becoming official theorbo player to the court of Frederick the Great, ‘The theorbo was a large member of the lute family, often used for ‘continuo’ playing. This was the art of improvising an accompani- ‘ment from a figured bass line, the figures being a form of musical shorthand which showed the player exactly what the correct harmony should be. Giuseppe Antonio Brescianello, c.1690-1757 Born in Bologna, Brescianello was a violinist and composer. Like many other 18th-century Italian musicians, he spent most of his work- ing life in Germany. From 1716 to 1751 he was the Director of Music at the Wirttemberg Coust in Stuttgart, where he wrote violin ‘concertos, chamber music, cantatas, a mass and an opera. The Menuets used here are taken from the Eighteen Partias he wrote for the ccolascione. Henti Grénerin, 17th century ‘Very little is known about this French guitarist and lutenist. He qualified as a court musician in 1641 and dedicated a book of theorbo ‘music to Lully, This delightful Menuet appeats in his Lire de guitare et autres pies de musique, published in Pats in. 1680. Ivan Jelinek, 1683-1759 The region of Bohemia, now part of Czechoslovakia, produced a number of notable Iutenists in the 17th and early 18th centuries. Ivan Jelinek, a Benedictine monk, was the last of these. He left a number of lute solos, but among his surviving compositions there is also a ‘work for the unusual combination of lute, waldhomn, violin and basso continuo. David Kellner, ¢.1670-1748 Kellnez, who was born in Leipzig, was one of the last important baroque latenists as well as being an organist. From around 1711 until his death he lived in Stockholm, He wrote a very popular figured bass manual in 1732, The Aria and Passepied are from his XVT_Ausenesene ‘Liwien-Sticke, published in Hambusg in 1747. Johann Anton Logy, 1650-1721 ‘The greatest of the Bohemian lutenists and also a guitarist, Logy is sometimes known by the Czech spelling of his name: Jan Antonin Losy. He was bora into an aristocratic Family of Swiss descent, and his fall ile was Count Losy von Losinthal, Baron praises him highly in Untrsuchng des Instruments der Lauten and bis death inspired Weiss’ most famous piece, Tombeau sur la mort de M. Conde de Lagy. OF the four pieces by Logy here, the Gavotte was written for the lute, the Sassbande, Gigue and Bourrée for the guitar. René Mesangeau, d.1638 Born towards the end of the 16ch century, Mesangeau was one of the frst great luteniss of the baroque era, and a pioneer of the new tunings that began to distinguish the baroque lute from its renaissance counterpart. His music first appears, along with some other French ‘composers, in a book published in Germany in 1617. By 1619 he was working at the court of Lovis XII, Henry Purcell, 1659-1695 Although he died very young (at 36, only slighty older than Mozart) Purcell is considered to be the greatest of all English composers. Asa boy he was a chotister at the Chapel Royal, later becoming the organist there and at Westminster Abbey. He wrote @ large amount of church music, instrumental music of all kinds, incidental music for the theatre, and the fist real English opera Dido and Acneas. The ‘Canary and Homnpipe are both harpsichord pieces, although they also exis in versions for string orchestra that form part of the incidental ‘music for, respectively, The Indian Queen and Abdelazer. The Canary is a type of jg that supposedly originated in the Canary Islands. BCH 211133 Esaias Reusner, 1636-1679 Reusner was a child prodigy taught by his father. He was the frst German to compose lute music in the new French style, and was a ‘major influence on the development of the suite form in general. He wrote 28 suites altogether, and while the number of movements in cach varies, they are all built around the four core movements of allemande, courante, sarabande and gigue. He also helped establish the improvisatory prelude as an opening movement to the suite. Ludovico Roncalli, late 17th century Ludovico Roncalli an Italian Count, is known only through his book Caprice armonie sopra lz citama spagnala which was published in 1692 and contains nine suites for the guitar, The left-hand fingering i the second and third bars of the Menuet is designed to allow each note to ting on as long as possible. This effect is called campanela, which means ‘tele bell’ in Italian, [twas not unusual in baroque guitar ‘music for melodie passages to be treated this way and itis clear from the choice of strings in the original tablarure that this is what was intended eee. Gaspar Sanz, 1640-1710 “The Spanish guitarist Gaspar Sanz studied theology at the University of Salamanca before becoming a musician, His Drtracién de masa sobrelauitara espaol, fst published in 1674, was the most comprehensive treatise ofits day with over ninety pieces. Many are in popular dance forms such as as and canarios, but others have elaborate descriptive titles. The gigue-like La Cavalleria de Napoks con dos Clarins is 1 good example of this — it means “The Cavalry of Naples with two Bugles’. Ryjro can be thought of as a sort of pavan or march. The ‘name is probably the Spanish equivalent of Ruggie, an Italian ground-bass theme popular since the 16th century. Georg Philipp Telemann, 1681-1767 History has treated Telemann and his fellow counteyman J. S. Bach very differently. OF the two, Telemana was more highly rated during his lifetime, but nowadays his music is played less frequently than Bach's. He did, however, manage to write a greater quantity of music than virtually any other known composer. In addition to numerous concertos, oratotios and operas, he produced sets of Fantasias for solo instruments that are unusual for the way they combine dance pieces with movements more typical of the baroque sonata. The Gavotte is taken from Fantasia No.7 for unaccompanied violin, and the Gigue from Fantasia No.3 for unaccompanied flute. Robert de Visée, c.1660-c.1720 Robert de Visée was the most famous French guitarist of his day. Also a singer and theorbo player, he was employed at the court of Louis XIV from 1681. He often played at the king’s bedside and in 1719 was formally appointed guitar teacher to the king — a job he hhad been doing unofficially since 1695. De Visée published two important collections of guitar music: Livre de Guitare dédié au Roy in 1682, and Litre de Picts pour la Guitare in 1686, These books contain some of the finest baroque guitar music of all Sylvius Leopold Weiss, 1686-1750 Acknowledged as the pre-eminent lite player ofthe later baroque period, Weiss also seems to have been the most prolific lute composer, leaving around 600 solo pieces in all. His father, brother and son were also professional Intenists. Like Bach, whom he is known to have ‘met and played with, Weiss was a highly skilled improviser. From 1717 he was based at the court in Dresden from where he travelled ‘widely, visiting Prague, Vienna, Rome (where it is thought he may have met both Alessandro and Domenico Scaslatti) and London. He also played with the flautist Quantz and was greatly admired by Frederick the Great. His career almost ended in 1722 when a French violinist called Petit nearly bit off the tp of his right thumb. The Instruments None of the music in this book was written for the guitar as we know it today, but fora variety of different instraments ranging from the baroque guitar (the direct ancestor of today’s guitar) through other fretted instruments such as the lute, colascione and viola da gamba to those that belong to different generic groups altogether, like the violin, cello, harpsichord and flute. All the pieces have, therefore, undergone some degree of modification in order to fit the modern guitar. In some cases (Abel, Bach and Brescianello) this involves little more than a change of key. In others the alterations are more substantial: for example, the radically different tunings and low-tegister ranges of the baroque guitar and lute mean that sometimes bass lines have to be re-thought. Up to the end of the baroque petiod, when the lute effectively died out, all plucked, fretted instruments used tablature instead of nor smal staff notation for everything except continuo playing. The tablature system used lines to represent the strings, rather than lines and spaces each representing a different degree of the scale. In France end Germany the top line of the tablature represented the top string and letters of the alphabet indicated the fret at which a note should be played. In Spain and Tealy it was the other way round: the bo. tom line represented the top string, and numbers were used to indicate the fret. In both cases the required rhythmic values were written above the top line.ery Baroque Guitar “The baroque guitar was smaller than the modern guitar and much mote highly decorated, It had five pairs of strings, known as courses, though the first course was sometimes just a single string. The five courses were the same as the first five strings of the modem instru. ‘ment, except that the A-course was tuned an octave higher. This is called a‘re-entrant’ tuning, ‘The D-course was usually tuned in octaves — one string at the normal pitch and the other an octave higher (Example 1). Some players, including Gaspar Sanz, tuned both their Decoutse strings at the upper octave (Hxample 2). This means thar the baroque guitar had no real bass register. It was essentially an alto ingerument, high-voiced and deticate-sounding, In most cases, the present atrangements try to reflect these characteristics by using the fifth and sinth strings as sparingly as the part-writing will allow. Example 1: Example 2: Baroque Lute ‘The early, French, baroque lute had eleven courses. By the time the instrument reached its peak in early 18th-century Getmany this, snumber had risen to thirteen. The upper five courses of the German model were tuned to a descending D-minor chord: the first two ‘were single strings and the next three double courses tuned in unison. The sixth to the thirteenth were also double courses, but tuned in octaves to a diatonic scale which went right down to the A below the low F. of the modern guitar (Example 3). The tuning of the lower courses might vary according to the key of the piece being played. The baroque lute, therefore, had a deep and richly resonant bass register — quite the opposite of the baroque guitar xan Colascione ‘The colascione is a long-extinct cousin of both the guitar and the lute. It had a small, lute-like body, a very long neck and six pairs of strings that were usually tuned to the same intervals as the modern guitar but a whole-tone lower. Therefore only a simple transposition is required in order to play its repertoire on the guitar exactly as it was written, Viola da gamba ‘The viola da gamba was the bass member of the viol family. Viols were played with a bow, but had six strings and were fretted like the guitar and lute. After along period of popularity they were gradually superseded towards the end of the 17th century by the more robust- sounding violin family. The viola da gamba (leg viol in Italian) survived as a solo and continuo instrument for another hundred years. Occasional double-stops and chords make most unaccompanied viola da gamba pieces highly suitable for performance on the guitar. Harpsichord Along.with the organ, the harpsichord was the main keyboard instrument of the baroque period, The invention of the more touch-sensitive pianoforte, whose strings are struck with padded hammers rather than plucked with quills, eventually led to its decline. Nowadays the hagpsichord is widely used for authentic performances of baroque music, and occasionally new music is composed for it too. Violin, Cello and Flute Although these instruments ate well known today and are not just associated with baroque music, they have all changed considerably since the 18th century. The baroque violin and cello had lower string tension than today’s instruments, which meant that they produced. 4 sound that was less round and less penettative, However, flatter fingerboards and bridges and slacker, convex bows meant that 3- and. 4-string chords —a common feature of unaccompanied baroque string writing — could be executed more smoothly. The baroque flute hhad a softer sound than its modern counterpast, and was much more awkward to play. It only had one key (the mechanical lever that covers the holes) which meant that most notes were played by covering the holes with the fingers, as on the recorder. ECH 235 The Musical Forms ‘Most of the pieces in this collection are taken from suites. The idea of grouping together into a suite an extended selection of contrasting, key-related dances began in France with the carly 17th century lutenists, though smaller groupings such as the pavan and galliard had existed since the renaissance. The movements of the suite were often preceded by a prelude, while additional items like an aria (literally ‘a song) or a chaconne might be included for variety. Dance movements ‘The menuet, bourrée, gavotte, sarabande, gigue, passepied, allemande, courante end hornpipe are all stylised versions of dance music, yet the chythm of cach can be related to the steps and tempo of the original dance. ‘The sarabande originated in Spain, the allemande in Germany and the gigue and homnpipe in the British Isles. The rest are all of French origin, though there were two distinct types of courante, one French and one Italian (the coctente). The allemande, courant, sarabande and gigue became the most important dance ‘movernents. Most suites had them and in that order, Of the others, the menuet, bourrée and gavotte are the most commonly found and one or other of them would typically appear between the sarabande and gigue. These dance movements were mostly written in what is known as binary fozm. This means that they have two distinct sections, which are normally repeated. The music will usually modulate to the dominant key at the half-way point, orto the relative major ifthe piece is in a minor key. Ground Bass pieces Ground bass (or just ‘ground! is the earliest and most basic example of variation form. Tt consists of a bass line repeated a number of times, above which uppet voices change and develop. Two more ot less identical types of piece based on this principle were common auditions to the baroque suite: the passacaglia (pasaailé in French) and the chaconne, They were originally dances, the chaconne Spanish and the passacagla probably Italian, Both have three beats to the bar and usualy stct on beat two, French composers often combined the passacaille with the rondeau form. The Passacalle by de Visée (No.26) isa good example of ths. The five statements ofthe opening section alternate with four different passages known as couplet The Prelude ‘The prelude is the only typical baroque instrumental piece that does not subscribe to any particular formal design. Used atthe beginning of a suite (orto introduce a fugue), it was essentially a warm-up item for both player and listener. The entliest examples had no bar-lines snd were little more than a series of chords upon which the player improvised. Preludes began to be notated in fall as composers tried to make them more formal, but the broken-chord textures and oceasional changes of metre that were a product of the improvisations remained as characteristics, The Weiss Prelude (No.36) like many others by this composer, isa fey ate example of an unbarred prelude, though itis in all other respects fully notated. In the de Visée Prelude (No.33), the mezre change from alle eve to fourin-a-baris rather ‘uausual. It indicates a reducing —- but not a halving — of the tempo. In other words, the crotchet beat after, the metre change should be slightly slower than the crotchet beat that precedes i. The Ornaments Tewas standard practice in the baroque era to decorate or embellish the music at given points with added notes ot combinations of notes. ‘These are known as ornaments. The pieces in the second and third sections of the book feature the three most common ornaments: the appoggiatura, the mordent, and the trl The following examples ate all taken from the Courante (No.32). Appoggiatura ‘An appoggiatura is, literally, a Teaning’ note (from the Italian gppeggiar, to lean). Iti played on the beat and generally occupies half the value of the note to which it is attached (the main note). Itis usually executed by means of an ascending ot descending left-hand slur or gado, Exceptions to this include where appoggjarura and main note are not on the same string a in the de Visée Passacalle Written: Played:36 If the main note is dotted, the appogeiarura usually occupies two thirds of its value, i. the value of the main note minus the value of the dot. If the main note is tied to another note, the appoggiatura should last for the full value of the main note and resolve onto the note it is tied to, Both situations are demonstrated in this example. Written: Played: t ‘The appoggiatura need only take up one third of the value of a dotted note—or even less — ifthe resulting syncopation suits the musical character of the passage in question. This ‘short appoggiarura’ can be used in bars 3 and 9 of the Logy Bourrée (No.14), bar 7 of the de Visée Bourrée (No.20), bar 35 of the de Visée Chaconne (No.23), bar 4 of the Baron Sarabande (No.29), and bar 8 of the tio section of the Brescianello Menuet (No.3) Mordent : ‘This comes from the Italian morier which means ‘to bit’. In effecta short, sudden will, he mordent ‘bites’ into the musical line. It starts on the diatonic note immediately above the one written and is executed by a combination of descending and ascending le-hand slurs. Written: Played: ‘The first note of the mordent can also act as an appoggiatura and be given a longer value than is shown here. Bar 12 of the de Visée Prelude provides a good example of this Trill ‘The till was originally known as a shake, so called because a singer has to ‘shake’ his or her voice in order to produce the desired effect. Like the mordent, it should start with the upper note, The second example is more suitable when the till is followed by a quaver up-beat (or, in the case of the de Visée Passacalle, 2 crotchet up-beat). The note values of the second example should not be intexpreted too literally. The first note can, as with the mordent, be given more weight. In slower pieces such as the Baron Sarabande, it may be possible to fit more notes into the teil. o Written: Played: